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3.14 Mars, Bars

Teleplay by: Phil Klemmer and John Enbom
Story by: Joe Voci, Phil Klemmer and John Enbom
Directed by: Harry Winer

Original Air Date: 20 February, 2007
Transcribed by Inigo.
Last edited: 27 February, 2007

VERONICA VOICEOVER: Previously on Veronica Mars...

Weevil walks into the dean's office to find Cyrus O'Dell slumped over his keyboard in 309 "Spit and Eggs."

KEITH: [offscreen] A man of good taste.

Cut to Keith and Veronica in Keith's office in 313 "Postgame Mortem."

KEITH: Well, let's honour him by putting his killer behind bars.

Veronica nods. Cut to later in the office.

MINDY: You're off the case, Mr. Mars.

KEITH: You can fire me, Mrs. O'Dell, but I'm afraid you can't take me off the case.

Cut to Coach Barry getting ready to yell at the basketball team.

KEITH: [offscreen] Coach Barry was found...

Cut to Keith in his office, explaining to Veronica.

KEITH:...murdered last night beside the PCH. The sheriff suspects Josh.

Cut to Veronica visiting Josh in a jail cell.

JOSH: It's Mason. Why else would he lie? It makes sense.

Cut to Veronica and Mason outside Hepner Hall.

MASON: You really think that I would kill my coach...because he wasn't starting me?

Cut back to the jail cell as Veronica arrives, bearing gifts.

VERONICA: Here you go.

There are cookies inside one of the books.

VERONICA: Sheriff-approved reading material.

Cut to Lamb taking his pleasure in Landry's classroom.

LAMB: Miss Mars. You are under arrest for the aiding and abetting of the escape of Josh Barry.

He cuffs her and pulls her out of her seat. End previously.


The interrogation room is lit from Venetian blind covered windows, casting strips on the shadows of the walls and on the watching Deputy Sacks. Lamb is doing his best to intimidate Veronica...

LAMB: Where is he, Veronica? Where's Josh?

...without success. She and Lamb sit on opposite sides of the table in the room.

VERONICA: Think back, Sheriff. Where did you have him last?

LAMB: Josh's cellmate says you snuck him a peanut-butter cookie.

VERONICA: And he bribed one of your deputies with said cookie?

Veronica casts an amused glance at Sacks. Lamb slaps his thigh.

LAMB: He was allergic, but you know that. After the paramedic revived him with an epinephrine shot, Josh overpowered him and escaped out of the back of the ambulance.

VERONICA: You didn't have a deputy with him?

Lamb gives Sacks an irritated glance. Sacks shuffles, embarrassed.

LAMB: He was riding up front. As his accomplice, I would think you would want to get yourself out of hot water and tell us where he is.

Veronica leans forward as if to confide.

VERONICA: Don't I get a phone call?

Lamb snorts.


A child is playing "Solfeggietto" by Carl Philip Emanuel Bach on a piano. He looks to be about ten-years-old. He's in a room to the side of the Barry's dining room, where Keith and Mrs. Barry are sitting at the table.

MRS. BARRY: Please, Keith, find my son.

KEITH: It's likely he'll try to contact you. When he does, you've got to convince him to turn himself into me.

She nods.

KEITH: It will be safer than turning himself in directly to the sheriff.

Keith's cell phone rings. Keith glances over at the boy, Bobby Barry, who is still playing, but is startled by the phone's ring. Keith holds up the phone to Mrs. Barry.

KEITH: I'll just take it in here.

She nods and Keith gets up from the table. He walks into the kitchen before answering the call.

KEITH: Yeah?

OPERATOR: Keith Mars, please hold for Veronica Mars.

Keith frowns. He waits, stopping by a pile of mail on the counter. He notices that the top letter, addressed to Kathleen Barry, 23 Emperior Ct., Neptune, CA 90909 (a popular address!), is from Vincent Van Lowe of 4563 Finders Way, Neptune CA 98081.

KEITH: Yeah? Honey? It's me.

He listens with growing incredulity.

KEITH: You're where?


Veronica is in a jail cell. She is being very butch, doing press-ups with gusto. She's gained a tattoo on her left arm and plaited her hair on that side close to the scalp. Keith arrives in the area behind her, on the other side of the bars.

KEITH: Please tell me you didn't help an accused murderer escape jail.

Veronica jumps up and starts shadow boxing.

VERONICA: Yo, pops, check it out. This girl ain't gonna be nobody's bitch. You better recognise.

KEITH: What's that on your arm?

She points proudly to the tattoo. Under the banner "Thug Life" is a pony in the style of My Little Pony.

VERONICA: I've had some free time. And, no, I didn't help Josh escape.

Veronica grabs the bars and pulls herself up closer to Keith.

VERONICA: Not intentionally. It turns out he's allergic to peanuts. His plan was to take advantage of my kindness.

KEITH: That's got to be the first time that's worked for anybody.

This amuses Keith and he hides his face. Veronica gives him a woeful look as Cliff arrives behind Keith.

VERONICA: Clifford. Something wrong?

CLIFF: I just remembered I need to return Caged Heat to the video store. You folks want to hear the good news or the bad news first?

KEITH: I'm gonna say the good news.

CLIFF: Josh's cellmate and key witness to the cookie incident ate the evidence and, icing on the cake, blew a point two-one on the breathalyzer when they booked him. No way Lamb can get a conviction and he knows it.

Veronica, who has moved back into the cell to sit on the bunk with her "workout" towel around her neck, gives a sigh of relief.

KEITH: Well, that sounds like great news.

CLIFF: Um, but he's gonna hold Veronica as long as he possibly can.

Veronica slaps the towel on the ground in frustration before falling back onto the bunk.

KEITH: Can I get you anything, honey?

VERONICA: Oh, a couple cartons of smokes.

Keith is disapproving.

VERONICA: What, dad? It's currency on the inside.

KEITH: Any guess where I might find Josh?


KEITH: So you think he did it?

She rolls off the bunk and walks to the bars again, serious.

VERONICA: I don't know. If he didn't, he sure panicked quickly.

KEITH: That was my thought, too.

CLIFF: Anyone want to know what I think?

Veronica gives his a sceptical look.

CLIFF: Fine, I'll keep it to myself.

Cliff clears his throat and moves to the back of the room, but can't resist giving them his thoughts after all. The Mars pair indulge him.

CLIFF: I'm just saying, my entire workday is spent sorting through my various clients' lies. This kid? I think he's on the up-and-up.

Veronica is interested in that view and watches Keith leave the cell area.

KEITH: Okay. I've got an appointment with Dean O'Dell's old assistant. I can't just put his murder case on hold.

Veronica nods. Keith starts to move off, but pauses as he looks at her and sighs.


He smiles.

KEITH: Just...I thought this sight would be more traumatic for me, but...

He shrugs. Veronica is offended. Cut to a few moments later as Keith is leaving the department. He stops when he sees Vinnie Van Lowe at the front desk with one of the deputies. There's an elderly man with his hands behind his back next to Vinnie.

KEITH: Vincent.

Vinnie raises his eyebrows before turning to look behind him. Keith walks towards them.

KEITH: You bringing in a fugitive or picking up your dad?

Vinnie points to the man.

VINNIE: Old-timer, fraud warrant. Turns out, his uncle isn't Nigerian royalty.

Another deputy grabs the man and leads him away.

KEITH: Hey, uh, question. I saw what looked like an invoice from you at the home of Coach Barry's widow. Any chance we're working the same case?

VINNIE: Negatory, Mrs. Barry hired me about a month ago, wanted to know if her husband was cheating.

KEITH: What did you learn?

VINNIE: Keith, I am bound by the exact same ethical codes you are.

KEITH: Yeah, well-

Vinnie bursts out laughing.

VINNIE: I was pulling your leg. I had you, though. No, never got a money shot. Uh, but I did catch him getting friendly in a parking lot with a very attractive married lady.

KEITH: Any chance I could get a copy of that picture?

VINNIE: Yeah, what the hell? It'll be good having you owe me one. I guess you're tracking that kid? I was thinking of diving into that.

KEITH: Well, I'm...looking for the coach's killer.

VINNIE: Oh, didn't you hear? It's the kid.

Keith rolls his eyes and turns and walks away.


Someone is scrapping the "O'Dell" from the painted "Dean O'Dell" sign on the glass door leading into the outer office. In the office, Keith is sitting at Cora's desk.

CORA: I spoke to the sheriff two months ago. Is there anything-

KEITH: Just routine follow-up on some insurance matters. If you could just tell me anything you can recall about the day the dean died.

Cora has the diary for December 10th open in front of her.

CORA: Just the usual stuff, meetings. There was one strange thing. Mel Stoltz showed up, no appointment. I didn't know who he was until he left. He seemed to agitate Cyrus.

KEITH: Really? Mel Stoltz?

CORA: Oh, and, um, he was out of Xanax. I had to call in the prescription.

KEITH: Did he pick it up, do you know?

CORA: Mmm, he was stuck here all day, and the pharmacy closes at 7:00, so...


Keith is back in his office, on the phone.

KEITH: A prescription refill called in on December 10th. Do you have a record of who picked it up?

Keith listens with interest.


As Keith puts down the phone, footsteps approach. It's Landry, who marches into Keith's office, fiddling with his cell phone.

KEITH: Dr. Landry, what brings you-

LANDRY: Question, Keith. I found this bug in my cell phone. Did you put it there?

He tosses the bug onto the desk. Keith looks at it long and hard before responding.

KEITH: No, Hank.

LANDRY: Did Veronica do it?

KEITH: I'm sure she had nothing to do with it.

LANDRY: You're sure, sure? She's got a lot of initiative. You know, the other day, she asked me something about the movie that I watched in the hotel that night, and then I realised she was probing my alibi.

KEITH: She does have a lot of initiative.

LANDRY: She also has got a lot of promise, and she doesn't need to be slumming it in a P.I. office the rest of her life. And, uh, just for the record, that night I checked into the Grand at 7:30. I watched the Clipper game in my room until Mindy showed up, about 8:15. The rest of the evening was occupied by the usual business of an affair, followed by a pay-per-view movie, then sleep. There's no more to say. And there's no more for you or your daughter to find. So please stop trying. It's starting to piss me off.


Keith approaches the front desk.

KEITH: I need to see the sheriff.

SACKS: I don't know, Keith. He looks kind of busy.

KEITH: Well, that's something I got to see.

Sacks smirks. Cut to a little later. Keith in with Lamb in the latter's office.

LAMB: So, if I'm hearing you right, you're calling me a dumbass.

KEITH: All I said was the dean's death was a murder, not a suicide. I wanted to bring you what I had as a concerned citizen. You remember from the toxicology report he had traces of Xanax in there with the booze.

LAMB: And he had a prescription for the stuff which proves zilch.

KEITH: But according to his secretary, he had run out. She'd just called in a new prescription, which was picked up that night, I learned, by Mindy O'Dell.

This does get Lamb's interest and a response. Lamb shouts out.

LAMB: Sacks.

Sacks enters the office.

LAMB: Call over to Hearst. See if they stored any of the dean's stuff. Computer, phone or whatever. We can dust for prints.

SACKS: Sure, Sheriff.

Sacks starts to leave, but Lamb has further instructions.

LAMB: And bring Mindy O'Dell in. I'd like to ask her a few questions.

Sacks pauses a second just in case, then exits. Keith sits back, satisfied. Lamb stares at him thoughtfully.

Opening credits.


Keith arrives at Veronica's cell. She's lying in her bunk and looks over at him.

VERONICA: You bring my harmonica? I've got the blues, pa, the sittin'-in-my-jail-cell blues.

KEITH: Did you bug Hank Landry's phone?

VERONICA: [suprised] Wait, what?

KEITH: He just came storming into the office, saying he found a bug in his cell phone, asking me if I planted it. I didn't. Did you?


He stares hard at her. Veronica sits up.

VERONICA: Really. Come on, dad.

She draws a circle around her head with her hand.

VERONICA: This is the face of truth.

KEITH: Yeah, that played better in a different context. But, okay, I'm a sucker. I believe you.

Veronica walks towards the bars.

KEITH: Word of advice: you might want to start looking for a new mentor.

VERONICA: Wait. He suspected me?

KEITH: Vigorously. Though he emphasised that it was my bad influence, that you're a sharp kid, just a bit misguided.

VERONICA: The movie. He knew why I asked about Kiss Kiss Bang Bang.

KEITH: You want to pick at his alibi, you should have asked him about the Clippers game that night. Men routinely accept the idea that women don't know sports. That's just a...mentoring sample, for if you're interested.

Keith gives a cheesy grin and points to himself. He turns serious again.

KEITH: You didn't bug him?


Keith smacks his lips at her in a big kiss and exits the cell area. He heads out of the department, meeting Logan in the corridor coming in.

LOGAN: Mr. Mars.

KEITH: Logan.

They stare at each other a moment.

KEITH: Down the hall, on the right.

They nod to each other and Logan continues on his way. Keith watches him go. Back in the cells, Logan approaches the bars. Veronica is back to lying on the bunk.


LOGAN: No holiday decorations, huh?

She sits up.

VERONICA: Actually, that's just why I'm in jail, to avoid Valentine's Day.

Logan smiles and Veronica gets up to walk towards the bars.

VERONICA: Glad to see you.

LOGAN: We're both adults now, right? We can be civil.

Veronica nods. Logan steps closer to the bars.

LOGAN: You need anything?

VERONICA: There is one thing you could do for me, if you're heading back to campus.

Logan nods.

VERONICA: Get my wireless card back from the deputy. I was taking it to Mac when I got arrested. She said she needed it for a thing tonight.

LOGAN: Sure.

Veronica takes another step closer to the bars.


She grasps the bars.

VERONICA: You've nearly warmed this cold, cold heart of mine.

Logan smiles, steps back, and brings up his cell phone. Veronica looks confused. He takes a picture. He grins.

LOGAN: Well, this definitely warms mine.

Elsewhere in the building, Lamb is back in the interrogation room, leaning against the wall. Mindy is seated at the table. Sacks is standing in the corner of the room behind her.

LAMB: You don't remember the movie?

MINDY: Hank must have ordered it after I fell asleep.

LAMB: That's pretty late for a movie. Don't you think he'd have been pretty tired after all your...activities?

MINDY: I guess that some people have stamina.

Lamb smirks.

LAMB: You didn't leave the room?


LAMB: Lying to me is a crime, you know.

He moves forward and takes the seat opposite her.

MINDY: You might be thinking of perjury.

LAMB: I am thinking of perjury.

MINDY: Well, then you might be confused about what perjury is. Me lying to you here is not perjury.

Lamb sighs in irritation at having his bluff called.

MINDY: But I'm not lying.

LAMB: You're aware the dean had traces of Xanax in his system?

MINDY: Yes, and alcohol. They told me.

LAMB: Any idea where he got those pills?

MINDY: He had a prescription.

LAMB: Which had run out.

MINDY: Well, he must have had some left.

LAMB: Mrs. O'Dell, did you sign for a prescription for Cyrus the night he was killed?


LAMB: But you didn't see him after that.

MINDY: That's right.

LAMB: So if I found that bottle, there wouldn't be any missing pills?

MINDY: There are several missing.

LAMB: Where did they go?

MINDY: I took them. My husband's suicide left me with a certain amount of anxiety.

Lamb doesn't buy that this cool, collected woman in front of him would have a problem with anxiety, but is frustrated that there's sod all he can do about it.


Weevil, carrying a flashlight, wheels a trolley down an aisle between shelves in a large storage room. Sacks is behind him. Weevil shines the torch onto one of the shelves.

WEEVIL: One-three-zero-zero-four-seven-nine. The former computer of Cyrus O'Dell.

He turns to Sacks.

WEEVIL: She's all yours. Knock yourself out, Magnum.

Weevil pats Sacks on the arm and leaves him to it. There is heard a knock on a door.


Parker opens the door of her room.

PARKER: Logan.

LOGAN: Hey. Uh, is Mac around?

PARKER: Yeah, come in.

Logan steps in just as Mac is passing from Parker's side of the room to her own. Bronson is sitting on Mac's bed.

MAC: Hey.

LOGAN: Hey. Uh, Veronica asked me to bring you this.

Logan gets the wireless card out of his pocket.

MAC: Performing a favour from a jail cell? The girl has serious friendship skills.

Mac throws the card on her desk and turns her attention back to Bronson, joining him in sitting on the bed. Bronson sighs at the message on his phone.

BRONSON: Jason can't do it, either. He's out of town.

Parker steps forward to stand next to Logan, groaning in frustration. Logan turns to leave.

PARKER: Logan, can we, like, borrow you?

LOGAN: Will I be returned in my current pristine condition?


LOGAN: Go on.

Mac and Bronson grin.


Veronica's latest visitor is Wallace.

WALLACE: So, big news today: Mason didn't show at practice and no one's seen or heard from him.

VERONICA: Any chance Mason is lying about seeing Josh with his dad?

WALLACE: Man, I don't know.

They are interrupted by the arrival of Cliff and Lamb.

CLIFF: Who wants out of jail?

Veronica jumps up and down like a little girl.

VERONICA: Aeee duuu! Aee duu! [translation: I do! I do!]

Lamb, reluctance oozing from every pore, opens the cell. Veronica heads for the door where Cliff is standing. Wallace follows her. Lamb notices Wallace.

LAMB: I know you from somewhere.

Wallace turns to face him as Veronica and Cliff watch from the door.

WALLACE: Yeah, you told me to go see the Wizard and ask him for some guts.

LAMB: [smugly] Well, did you?

WALLACE: Yeah. He said to let you know you're the only sheriff in America who he considers a true friend of Dorothy.

Behind him, Veronica is shocked and awed by Wallace's gibe. Wallace walks out of the room. Veronica glances at Lamb who realises that he's been insulted but doesn't quite know how. (Being a macho-man bigoted type, Lamb would be insulted. In gay slang, a "friend of Dorothy" is a term for a gay man.)


Veronica gets out of a car in front of the apartments where she lives. A figure is walking towards her in dark, unseen by the car's driver. Veronica shuts the car's door and turns back to the driver.

VERONICA: Thanks, Cliff.

CLIFF: Goodnight, V.

Cliff drives off. Veronica turns to walk into the apartment block but is grabbed by the arm by the passing figure.

JOSH: Hey.

Veronica resists for a second.

JOSH: It's me.

Josh, his head covered by the hood of his jacket, leads her along the street, not letting go of his grip on her arm.

JOSH: Just keep walking. I need to show you something.

Cut to the boot of a car being opened. Mason is in there, terrified. He has duct tape over his mouth and binding his hands.


JOSH: He did it, Veronica. I know he did. He killed my dad.

Josh pulls out a gun, much to Veronica's horror.

JOSH: You gotta believe me. It's the gun I told you about. He had it. He killed my dad, Veronica, and this proves it.

Josh keeps pointing the gun at Veronica.

JOSH: I know how this looks, but I didn't have a choice.

VERONICA: Let me see the gun.

Josh glances down at the gun, then back at Veronica who is quaking under an icy calm exterior.

VERONICA: Can I see it?

Veronica's hand closes on the gun and Josh doesn't stop her when she takes it. Veronica gives a huge sigh of relief before inspecting the gun.

VERONICA: This is a .22-calibre pistol. Your dad was shot with a .45.

Josh bends down and grabs Mason by the shirt, screaming at him.

JOSH: Why are you lying about me?!


Josh ignores her and continues to shout at Mason.

JOSH: I wasn't with him!

VERONICA: Josh! Let him go.

Josh quivers with rage, but finally starts to listen.

VERONICA: Let him go.

Josh pulls back, shaking.

VERONICA: You have to turn yourself in. If you run, you'll look guilty.

JOSH: I already look guilty. I'm gonna get out of the country, but I need cash. I-I have ten grand in rare coins my grandfather left me in a safe deposit box. I need an ID that says I'm twenty-one to pull them out without a parent's signature. Can you help me with that? Wallace showed me the fake ID you made him.

Veronica thinks for a moment.

VERONICA: Buy a disposable cell phone and call me in twenty-four hours.

Josh nods.


Josh hurries away, leaving Veronica and Mason in the car park where he had left the car. Veronica reaches in to release Mason, pulling the duct tape from his mouth first.

VERONICA: Are you okay?

MASON: [furious] I was jumped and thrown in the back of my own car by some psycho who thinks that I killed his father! So, no! I've had better days.

Veronica's managed to remove the tape binding his hands and pulls him out of the boot. Mason drinks in the air, panting heavily. He staggers and turns to Veronica.

MASON: Thank you for believing me.

Veronica slams the boot lid down.

VERONICA: You lied about having a gun.

MASON: But I wasn't lying about what I saw.

VERONICA: He seems convinced otherwise.

MASON: Oh, really? I-I must have missed that.

He glares at her before walking towards the front of the car.


Music: "Undone" by Todd Deatherage.

LYRICS: I know you said
I better not show my head
Around here anymore
I've heard that before
I should have known
You wanted to be alone
You sold the bed
And you kept the rent
Guess everything I wanted is said
Or is never gonna get said
'Cause our love is already dead
To you
We've come undone
Thought love was gonna be fun
But we've come undone
Yeah, we've come undone
You packed my-

The Food Court is decorated for Valentine's Day. People in red t-shirts which declare "Find the Love" on the back, have set up a table and are handing out decorated Cupid's arrows to other students, in groups of fours, some with their own team t-shirts. Logan, Parker, Mac and Bronson are one such team, although they have eschewed the matching look. Logan takes their arrow, around which there is wrapped a scroll.

LOGAN: Will this require math?

PARKER: I hope not.

LOGAN: 'Cause I'm bad at math.

MAC: I'll do the math. You just be male and drive.

PARKER: Mmm-hmm.

They turn their attention to Sid, the head red t-shirt and organiser of the Valentine's Day Scavenger Hunt. This title is what adorns the front of the red t-shirts.

SID: Okay, so, here's how it works. You've just been given a clue that will lead you to a set of instructions. You must take a cell phone photo of your team performing the task, as instructed. Send it to me, and I'll send you the next clue. The first team to finish wins backstage passes to all tomorrow's parties.

The collected students cheer and clap.

SID: So, okay, couples! Are we ready for the Valentine's Day scavenger hunt?

There's more cheering and clapping.

SID: Then open your clues.

Logan unrolls the scroll. He opens it out for the others to see. In cutesy font, it reads: "Clue #1: Demonstrate 127 of HQ470.S3V3." Logan shoves it at Mac.

LOGAN: You do the math. I'll drive.

Logan starts moving. Mac grins and Parker laughs, jumping off the table on which she was sitting to follow. End music: "Undone" by Todd Deatherage.


Keith leans out from the refrigerator to call to Veronica in her room.

KEITH: Honey...why is there a pistol in the freezer?

Veronica is laying on her bed, reading a textbook.

VERONICA: Because there's this guy, see, and I want to put him on ice.

Keith starts walking towards her.

VERONICA: Because revenge is a dish best served cold.

He reaches her room and stares down at her.

VERONICA: Because I want to commit murder in the 28th degree?

KEITH: Stop.

VERONICA: Josh paid me a surprise visit when I got home.

She closes her textbook and lifts herself up to a sitting position, taking in the concerned look on Keith's face.

VERONICA: I'm fine. He had Mason shoved in his trunk. The gun was Mason's.

KEITH: It's a .22.

VERONICA: Yeah, I pointed that out. It's weird. If Josh is guilty, what's he doing going after Mason? That's what an innocent man does.

KEITH: Yeah, I'm forming a new theory about that.

Keith has an envelope in his hands. He takes a seat on Veronica's bed.

KEITH: Mrs. Barry thought her husband was having an affair. Before he was murdered, she hired Vinnie to tail him. Vinnie snapped these.

Keith hands her the photographs he has extracted from the envelope. Veronica examines them. There are three, taken from various distances. They show Coach Barry with a woman. They are standing in a car park, at the back of a car, license plate number 456POI3.

VERONICA: You think Mrs. Barry hired someone to kill her husband?

KEITH: That's one possibility, but it would be odd for her to hire us after that.

Veronica waits in anticipation.

VERONICA: I'm not gonna provide a drum roll.

Keith grins.

KEITH: I was able to ID our mystery woman from her plates. Her husband is a captain. Official side arm of the navy? Colt .45. I wonder if the captain found out about the affair.

Veronica nods.

KEITH: I'm gonna pay a visit tomorrow.

Keith gets up from the bed and walks towards the door.

VERONICA: Be careful.

KEITH: And where did you leave things with Josh?

VERONICA: I told him to turn himself in.

KEITH: Good.

VERONICA: And I called the sheriff's department and told them he made contact.

KEITH: Good.

VERONICA: And I might have also promised to help him sell his coin collection so that he could skip the country.

Veronica pulls a face.

KEITH: Veronica.

VERONICA: I'm not really gonna do it. But it will help us bring him in. We can lay a trap.

She mimes casting out a fishing line. Keith looks resigned and walks out of the room.


Mac, Logan, Bronson and Parker troop down one of the sets of library stairs.

MAC: See? I told you. It's a library of congress number.

They start checking the shelves.

LOGAN: Am I the only one who misses good old Melvil Dewey? And there it is, all the knowledge I retained from fourth grade. Melvil Dewey. Oh, and the types of clouds. You know, stratus, cumulus, cirrus-

As Logan drivels on, Bronson finds and pulls a book out of the bookcase. He holds it up to show the others through the gap between the books and the bottom of the next shelf.

BRONSON: Indian Sutras.

MAC: Hmm.

The others race around to join him. Bronson is flicking through the book. Parker joins him. Logan unrolls the scroll.

MAC: Demonstrate...

Mac checks the scroll.

MAC: 127. Page?

She joins the other two poring over the book as Logan watches. Bronson sees something startling.


He flicks past a few more pages.

BRONSON: Ah, look. "The Kama Sutra, plate number eleven...Congress of the Cow."

MAC: So, we, like...

PARKER: Demonstrate.

She lets out a slightly embarrassed laugh.

PARKER: Happy Valentine's Day.

Mac and Bronson exchange a long look before Mac glances at Parker.

MAC: Okay, you first.


Parker gives Logan a slightly worried look, and then thinks "What the hell." She walks over to him.

LOGAN: Yeah.

They start positioning their bodies with Parker trying to get her leg on Logan's shoulder. Mac readies her cell phone to take a picture. Bronson starts a private perusal of the book. Logan halts his and Parker's contortions.

LOGAN: Wait. That's "Splitting of a Bamboo." Can I see that for a second?


Bronson holds out the book with shows the woman standing in front of the man, holding up her right leg with one hand and the man's left leg with the other as he stands behind her.

LOGAN: Oh, shoot.


Parker and Logan assume the position. Mac takes the picture and grins.

BRONSON: That's good.

Bronson and Mac nod at each other.


Music: "Lovers Who Uncover" by the Little Ones.

Where do all the lovers
Meet with one another
In an effort to uncover
What has happened to their salad days?
The sprite ones on the corner-

Sid is now ensconced in the broadcast booth of the radio station. One of his fellow red t-shirts knocks on the window and points to Sid's computer. Sid sits down by it and checks the screen. He laughs as the pictures of Parker and Logan, and of Mac and Bronson, appear on the screen. End music: "Lovers Who Uncover" by the Little Ones.


Veronica eases back into the armchair. She points the remote at the TV. Live coverage of the crowd at a basketball game fills the screen.

SPORTS COMMENTATOR: ...and with that match-

STATION ANNOUNCER: And a reminder: our regularly scheduled programming can be seen an hour after its usual time.

Veronica groans and throws her head back on armchair. She jerks her head up as a thought occurs to her. She gazes intently at the screen.


A box of Super Titans condoms is pushed across a counter. The clerk picks it up to scan it as Logan gets cash out of his wallet and slaps it on the counter.

DRUGSTORE CLERK: [sceptically] Super Titans?

LOGAN: It's a curse, actually.

Logan picks them up and holds them up with a cheesy grin for a picture. Another box is handed to the clerk. She scans it and looks down at them with a smirk. Mac, less composes than Logan, pushes her money across the counter. She looks up at the clerk.

MAC: Just hand them to me, please.

The clerk does and Mac holds them up, smiling tightly. Parker grins as she takes the picture. Bronson is smirking behind Parker.


Music: Unknown.

LYRICS: Let's get it right
We'll get it right
We want it
Let's get it right-

Another red t-shirter gestures behind the window to Sid. He checks his computer screen. There are pictures of each of Bronson, Mac, Logan and Parker with their box of condoms, followed by pictures of the condoms blown up like balloons and twisted in animals. Sid grins. There's the sound of a knock on a door. End music: Unknown.


Veronica is in deep concentration at her desk. Keith walks in.

KEITH: Hey. You know you're missing that show where women have sex in an urban setting.

Veronica finishes what she's doing, announcing her conclusion.

VERONICA: It's an hour off.

She finally acknowledges Keith.

VERONICA: You said Hank watched a Clippers game that night. Channel 9 pushes all their programming back an hour for Clippers games, which means on the night of the dean's murder, our earwitness was watching Space Ghost at 3:30, not 2:30.

KEITH: Which means the shot he heard came an hour later, also after Mindy's car was returned to the hotel valet.

Veronica nods and they both ponder the importance of this information.


Music: "Lost to the Lonesome" by Pela.

LYRICS: Hey, we should crash the party on Christmas eve
Hey, we should write our name on every wall we see
Hey, we should break our wallets at every bar
Hey, we could break the bed without broken hearts
La la la la and we could leave the lonely and lost to their lonesome hearts
Don’t just stand there with your face in your hands
Don’t just stand there
Clean up your broken glass!
Hey, we should crash the party on New Years Eve
And hey, we should write our name on every wall we see
La la la la and we could leave the lonely and lost to their lonesome hearts
Don’t just stand there like a ghost in my room
And don’t just stand there with that same old TV set
Don’t just stand there pointing out west
And don’t stand there telling me I'm nothing

It's dawn as Logan's Range Rover pulls to a stop on the beach near a lifeguard station. Laughing, the four pile out of the car.

MAC: Tell me the next challenge is to sleep on the beach for twelve hours.

Logan reads the text message on his phone.

LOGAN: "Go to the top of the lifeguard station to rescue your final clue. Don't forget to bring your buddy."

Logan looks at Parker, smiling, and runs up the sand towards the lifeguard station. The others follow and they jog to it.

BRONSON: Buddies, buddies.

LOGAN: Come on.

PARKER: Where are we going?

LOGAN: Let's go.

MAC: Come on.

BRONSON: You go first.

They stumble up the steps and enter.


LOGAN: Hey. Look there.

They start searching. Logan points Parker to the area above the door. She jumps up on something to reach. After a moment, Logan steps out of the building onto the porch and looks over the ocean.

BRONSON: There's nothing here.

LOGAN: Turn around.

They all look out in the same direction. There's a buoy in the water on the top of which is a balloon. They file out and line up against the rail facing the water.

BRONSON: Here's the thing...I'm not what you would call a strong swimmer.

MAC: Yeah, Bronson can't swim.

Parker sighs before adopting a determined face. She starts to unbutton her jacket.


Logan looks at her sceptically.

LOGAN: Uh, do you have any idea how cold that water is?

PARKER: Please. I'm from Denver.

Parker peels off her jacket and starts to unbutton her sweater.

LOGAN: Right. Which means you've never actually touched the Pacific Ocean.

PARKER: I thought you were some kind of surfing badass.

Logan laughs and accepts the challenge, throwing off his jacket.

LOGAN: Okay. But I have a wet suit in the car. Why don't we just grab that?

PARKER: We're in a race against time, Logan. We have no time for you to change out of your panties.

With that, Parker heads down the beach. Logan grins as Mac and Bronson laugh.

LOGAN: Panties.


LOGAN: Okay, that's fine.

Logan follows Parker onto the sand, starting to unbutton his shirt. Parker takes off her shoes as Logan takes off his shirt. He shouts back to Bronson.

LOGAN: You can't swim, huh?

Logan and Parker run down to the water. Bronson and Mac watch. Bronson whispers in Mac's ear. She smiles and they kiss. Cut to later. Mac and Bronson lead the wet and cold Logan and Parker back to the car. Parker's got the balloon, but is shivering. Logan throws his jacket over her shoulders.

LOGAN: Hey. Here you go.

PARKER: Thanks.

They climb back into the car. End music: "Lost to the Lonesome" by Pela.


Keith and Veronica hurry into the main room. Lamb is standing in the area behind the main desk.

KEITH: You got a second, Sheriff?

LAMB: You two kids are sure up early. Just complete a shift snapping dirty pics at the Camelot?

Lamb walks over to the coffee machine to pour himself a cup.

VERONICA: We got O'Dell's time of death wrong. It wasn't until an hour later that the witness overheard the gunshot.

LAMB: I'll be sure and get that noted on the dean's autopsy. Thanks for the bulletin, Keith.

Lamb dismisses them and marches past Keith with his coffee.

KEITH: According to the valet, Mrs. O'Dell was back at the Neptune Grand at the time of her husband's death.

Lamb turns back to face them.

LAMB: So, what, now I'm a jerk because I listened to a concerned citizen?

VERONICA: No, just 'cause.

SACKS: Sheriff!

Sacks' shout startles Lamb and he jerks, spilling his coffee over his hand.

LAMB: Does everyone need a piece of me this morning?

Lamb starts licking the coffee from his hand as Sacks approaches him.

SACKS: We got the results on the keyboard you wanted.

KEITH: You got prints off the dean's computer?

LAMB: By all means, Sacks, tell me the forensics results in front of Neptune's favourite amateur crime-fighting duo.

Lamb glares at Sacks with a tight smile. Sacks hesitates.

SACKS: I can't tell, Sheriff, are you being sarcastic-

LAMB: Did you ID the prints or not, Sacks?

SACKS: Yeah.

Sacks checks the file.

SACKS: Someone named Steve Batando.

Keith and Veronica exchange significant looks. Lamb spins on his heel and heads into his office.

SACKS: Sheriff?

Keith and Veronica silently agree to make their exit, leaving the main office.

VERONICA: Surprise. Batando can type.

KEITH: Enough to write, "Goodbye, cruel world." I don't know, Veronica. He just doesn't seem like the perfect-murder kind of guy.

VERONICA: Ratner said he overheard two men arguing in Landry's room. What if the second one was Batando?



Mac, Parker, Bronson and Logan race into the Food Court from outside.

MAC: Okay, guys.

PARKER: Stop it.

BRONSON: Follow me. Follow me.

They get to the organiser's table. Parker hands over the balloon with glee.


SID: Congratulations. You guys got third place.

Sid holds out a small heart-shaped box. The team's face falls. Logan takes the box and they turn away from the table, groaning and giggling at their failure. Logan opens the box and checks a voucher inside.

LOGAN: Hey, a $50 gift certificate for the Neptune Grand restaurant. That ought to come in handy.

Mac grabs the voucher from him.

BRONSON: Well, hey, it's still third place.

MAC: More like second loser.

Parker laughs. Logan throws up the box for Bronson to catch, although the latter is a little slow on the uptake.

BRONSON: All right.

Bronson gives Logan a companionable pat and walks away.



Logan watches Bronson walk away as Parker turns to Mac.

MAC: See you.

PARKER: See you.

Mac also walks away. Logan turns to Parker.

LOGAN: Hey, I had a good time last night.

PARKER: Yeah. Me too. You're a sport, Logan.

Parker takes off Logan's jacket.


She passes him the jacket.

I'll, uh, I'll see you around. Okay.

Logan watches her go. He heads out of the Food Court, passing Mac who's been caught by someone the credit writer's appear to call "Food Court Employee," although there's nothing to show that he is anything but hairy.

HAIRY GUY: I keep on sending an error message...

He continues mumbling incoherently. Mac is more interested in Bronson, who is waiting by a pillar. She ends the discussion.

MAC: Okay. I'll see you.

HAIRY GUY: Yes, see you tomorrow.

Mac hurries to Bronson.

MAC: What's wrong?

BRONSON: Nothin'. I've just got O-Chem at eleven. By the time I get back to my apartment to take a nap, I'll have to come straight back.

MAC: Or you could just come to my room. We could...I don't know...crash for an hour?

Bronson takes his time consider the offer.


Mac smiles.


Music: "Swimmers" by Broken Social Scene.

LYRICS: I was waiting for you
I was standing around
I was getting older
I was going down
If you always get up late
You'll never be on time
If you always make it
After work
Ba ba da-da-da
After work

Bronson and Mac are spooned in her bed, sated after sex. They giggle.

BRONSON: And this is what you meant by "crash"?

MAC: Oh. Yeah. I meant "bang."

They both laugh.

MAC: I got my onomatopoeias mixed up.

BRONSON: I don't think "bang" is the right word, either.

Mac giggles and twists around in bed to face him.

MAC: Well, not when you're all sweet and tender about it.

BRONSON: I like being sweet to you.

MAC: I'm really glad.

They kiss.

MAC: Wait. Can I say something else, instead of that?

BRONSON: Oh. Uh, I like being sweet to you.

MAC: Now all I got is..."thank you."

BRONSON: That's okay.

They laugh again and start kissing. End music: "Swimmers" by Broken Social Scene.


Steve Batando is hurled into a chair in the interrogation room. Lamb perches his butt on the table in front of him. Sacks is watching, standing in front of the door.

BATANDO: What is this? Don't you have to charge me or something?

LAMB: I just need you to answer a few questions. If Dean Cyrus O'Dell is found shot to death in his office, what are Steve Batando's fingerprints doing on his computer keyboard?

BATANDO: You got to think I killed that old bastard?

LAMB: The last thing typed on his keyboard was a suicide note, and whoever wrote it also put a bullet in the dean's head.

Batando appears to run things through his head.

BATANDO: That bitch is setting me up.

LAMB: "That bitch" being your ex-wife?

Batando gazes up at Lamb.

BATANDO: I'm done talking. I want a lawyer.

Lamb grins and leans down to him.

LAMB: You got it, Stevie.

Lamb slaps him on the arm. Cut to later. Batando is pacing in the cell.

CLIFF: [offscreen] Mr. Batando?

He looks up at the entrance to the room. Cliff stands at the door in shadow. He steps forward.

CLIFF: Brace yourself for the best free legal representation in Neptune county.

Batando stares hard at Cliff, half-recognising him from the scam in 305 "President Evil."

BATANDO: Do I know you?

Cliff has an instant of being uncomfortable before he brazens it out.

CLIFF: I've got one of those faces.

Cut to later still. Lamb, Batando and Cliff all take a seat at the interrogation room table.

CLIFF: I'd like to remind my client that he is answering these questions only as a courtesy to the sheriff.

LAMB: Is that it?

CLIFF: That's it for now.

Lamb tears into Batando.

LAMB: Mr. Batando, where were you on the night of December 10th, approximately-

CLIFF: Hold on.

Cliff is reading the paperwork. He holds up a finger.

CLIFF: It says here Mr. Batando was picked up at the laundromat on El Camino.


CLIFF: Just pointing out that my client was taken into custody a hundred yards inside Santa Rita County. You don't have jurisdiction there. Any information you gather today will be inadmissible. I'm sure you know that. Do go on.

Batando smirks. Lamb sighs heavily.


A man in the uniform of a naval officer kisses a woman on the lawn of a well-appointed house. Keith watches as the man drives off. Keith gets out of his car, parked discreetly on the other side of the road, around a corner. He runs up to the house to catch the woman before she goes inside.

KEITH: Mrs. Andriotti!

The woman turns and watches as Keith jogs to get to her. He has the envelope with the photos in his hand.

KEITH: Keith Mars. Sorry to bother you. I'm a private investigator looking into the death of Tom Barry. A few weeks before his death, his wife hired another P.I. to follow him.

Keith takes out the pictures and hands them to her.

KEITH: She suspected he was having an affair. Mrs. Andriotti, if you know something...

DR. ANDRIOTTI: It's Dr. Andriotti. I'm a neurologist. Mr. Barry was a patient.

KEITH: He was sick?

DR. ANDRIOTTI: Have you heard of Creutzfeldt-Jakob disease?

Keith shakes his head.

DR. ANDRIOTTI: He was terminal. And what he was about to go through...all I know is whoever killed him probably spared that poor man a lot of suffering.


Veronica enters the apartment. She sees Keith sitting at the counter.

VERONICA: You're alive. I'm always happy to come home and find my dad hasn't been shot by a naval officer.

She pats him on the back on route to dropping her bag on the armchair.

KEITH: Some interesting twists in the Coach Barry case. It turns out the coach's wife took out an additional life-insurance policy on her husband a couple of days after Vinnie showed her the pictures of her husband with another woman.

Veronica pauses in getting herself something to eat to respond.


KEITH: And that's not all. The new policy had a double-indemnity clause. If his death is ruled an accident -- say, a carjacking/murder, for instance -- it paid out double. As it stands, the family will be sitting pretty with a five million dollar payout.

Veronica gets her dinner out of the microwave. She brings it over to the counter.

VERONICA: Mrs. Barry was at home with the younger son and the babysitter at the time of the murder. You think she hired somebody?

KEITH: That was my first thought, but with what? They took out a second mortgage to pay for their younger son's medical expenses. It's not like they'd find ten grand in the couch cushions. And it's not like hit men work on spec.

Veronica pauses chewing her food as she remembers the coin collection.

KEITH: Veronica?

She doesn't share.

VERONICA: Nothing.

KEITH: Wait till you hear the kicker. The coach wasn't having an affair. The woman he was seeing is a neurologist. The coach was dying of Creutzfeldt-Jakob disease. It promised a grim, prolonged, and expensive death. She may have actually done him a favour.

Veronica goes into deep thought.


Keith walks up to the Barry's house. (It's still the same house, but bears a different number from that on Vinnie's invoice: 585.) He rings the bell. Kathleen Barry opens the door. She's surprised to see him.

MRS. BARRY: Keith.


Veronica is working on her laptop. She is creating the fake ID for Josh. Her cell phone rings. It's a call from "Number Unavailable - Unknown." She answers.



Veronica's Saturn parks opposite the Neptune Bank. Josh is in the passenger seat.


She holds up the ID.

VERONICA: Your new ID.

Josh takes it.

JOSH: Thanks, Veronica.

VERONICA: Good luck.

Josh climbs out of the car and heads to the bank. Veronica watches him go through the wing mirror.

VERONICA VOICEOVER: You think you're nervous now? What if you knew that there's a chance those coins will be gone, and if they're gone, it means your mother had your father killed?


Keith and Mrs. Barry are sitting at a table on the back patio.

MRS. BARRY: Mr. Mars, it sounds to me like you're asking if I had my son kill my husband for insurance money.

KEITH: Not exactly.

MRS. BARRY: Wait here. I want to show you something.

Mrs. Barry gets up and walks into the house. Keith watches her go warily.


Keith walks up to one of the bank tellers who, according to her name tag, is called Angela.

JOSH: I need to get into my safe deposit box, please.

ANGELA: Can I see some ID?

Josh hands over the ID. The teller examines it carefully, looking up at Josh. He smiles nervously.


A door opens to a cupboard under stairs. Mrs. Barry scoots in a little ways, her hand searching around the back of a doll's house. She pulls out a gun. She cocks it.


The bank teller leads Josh into a room. Josh is carrying a safety deposit box.

ANGELA: Here you go, Mr. Barry. I'll give you your privacy.

She leaves him in privacy. Josh sits down at the table and opens the box.


Mrs. Barry returns to the patio. To her consternation, Keith isn't there.

MRS. BARRY: Mr. Mars?


Mrs. Barry walks softly in the house, pulling the gun from her pocket. As she passes an open door, Keith darts out, grabs her wrist, twists, and takes the gun from her. Mrs. Barry grimaces in pain, having been forced to her knees. Keith disarms the gun.

KEITH: That's a colt .45. Something you want to tell me, Mrs. Barry?

On her feet, she glares at him, panting heavily.


Josh has pulled a smaller box from the safety deposit box. He stares down at it for a moment, then opens it. It is full of coins. Josh checks the safety deposit box. There's nothing else there. He is about to replace the lid of the coin box when he sees a computer disc in a paper case jammed inside. His name is on it. He pulls it out and stares at it.


Keith and Mrs. Barry are in the dining room. She's sitting at the table while Keith stands at one end of it. The gun is on the table. Mrs. Barry is rubbing her arm.

MRS. BARRY: Mr. Mars, I was not planning to shoot you. That is so ridiculous. I don't even know how to use a gun.

KEITH: You pull the trigger.

MRS. BARRY: Listen to me. I got the gun to show it to you. When Josh told me that my husband was killed and the police showed up, I hid it.

KEITH: Because he did it?

MRS. BARRY: Because I thought it would make him look guilty. But then I read on the internet that they can test them, can't they? That's why I wanted you to have it, to prove that my son is innocent.

Keith sighs and drops into the chair.

MRS. BARRY: It was Tom's old gun from his army days. He coached there, you know.

Keith sighs again.


Josh heads back to Veronica's car, carrying the coin box. He gets in.


He opens the box, showing her the coins.

VERONICA: Relieved?

Josh holds up the computer disc.

JOSH: This was in there, too. It's my dad's handwriting.

Veronica takes the disc.

VERONICA: Do you have any idea what it is?

Josh shakes his head.

JOSH: None.

Veronica looks at it suspiciously.


A gun in a plastic bag drops down on Sacks' desk. Sacks stares at it.

SACKS: Hey, Keith. What's that?

KEITH: Something Mrs. Barry neglected to turn over. She wants it tested for powder residue. She thinks it'll help prove her son didn't do it.

Sacks picks it up but before he can do anything with it, Lamb hurries through the office to his guns, shouting.

LAMB: Let's move, Sacks.

He talks into his radio.

LAMB: Give me that address again.

RADIO: 112 Delmar Circle.

KEITH: Something happen at the O'Dell's'?

LAMB: Yeah, another breaking-and-entering call.

KEITH: It's Batando.

LAMB: That's what I'm hoping.

Lamb pauses to buckle on his weapons.

KEITH: You want me to come along? It's just I've dealt with him before. The guy's a little unhinged.

LAMB: I think I can handle it, Keith, but I'll tell you what. I'll give you a call if I need any backup.

Sacks, hurrying to get his buckle secured, gives Keith an apologetic smile and follows Lamb out.


Lamb and Sacks run from their vehicle to the house. Their guns are drawn. Lamb opens the back gate. He sees that the glass in the back door has been broken and that the door is slightly ajar.

LAMB: Make sure he doesn't slip out.

Sacks is a little surprised at being told to stay, but does as he is told.


Lamb enters the house through the back door which leads to the garage. Lamb holds out his gun, checking as he passes the Volvo. He opens the door to the kitchen. Cut to a moment later as he comes into the main hall of the house. There's a shout from upstairs.

BATANDO: You better hide, you crazy bitch!

It's followed by the sound of smashing glass. Lamb heads up the stairs which are covered in plastic, as if in preparation for being painted.


Keith's car pulls into the driveway. He gets out of the car and looks up at the house.


Inside, Lamb is making his way slowly up the stairs. He gets to the first room at the top. The double door is ajar. He pulls on one and steps back, checking what he can see of the room. He pulls the other door open, holding his gun in front of him. He walks into the bedroom, also in readiness for redecoration. He glimpses a movement in his peripheral vision, turns, and fires at a mirror, which shatters.


Keith drops by his car at the sound of the shot. Sacks jerks and looks towards the back door.


Lamb ducks and cringes at the flying glass. He stares at the mirror in disgust, lowering his gun. He looks down at the glass, not seeing the shadow behind him until it's too late. He turns just as the figure attacks, catching him in the face and bringing him down. Batando raises the baseball bat again and brings it down hard on Lamb's head.

BATANDO: You like that?! Huh?!

Lamb is unconscious, blood starting to pour from his head. He raises the bat over his head to do it again, but there is a shot and he stumbles, falling against the wall. Sacks is at the door, having shot him in the chest. Batando clutches his chest as he slides down the wall. Sacks keeps the gun on Batando, and crouches down next to Lamb. He shakes him.

SACKS: Sheriff?

Lamb doesn't open his eyes but groans out.

LAMB: I s-smell bread.

Sacks is in shock, close to hyperventilating. He hears steps on the stairs and points the gun at the door. Keith crouches down and holds out his hand.

KEITH: Sacks.

Once identified, Keith clamours up the rest of the way and steps into the room. Sacks is back to pointing the gun at Batando. Keith puts his hands on Sacks' arm.

KEITH: Sacks.

It takes a second but Sacks pulls himself together enough to listen to Keith. Keith forcibly lowers Sacks' gun.

KEITH: I need for you to go call for an ambulance now.

Sacks straightens, still staring at Batando. He slowly exits the room, still breathing jerkily. Keith looks down at Lamb. He checks for a pulse at Lamb's neck. His expression says that it doesn't look good.


Josh is staring out at the ocean. Veronica arrives behind him, carrying a laptop. They load the computer disc. It's Coach Barry on video.

COACH BARRY: Son, if you're watching this, you're twenty-one years old, I'm long gone, and the statute of limitations has run out on our insurance claim. It's time you know. I was responsible for my own death. Joshua, as I make this tape, I'm dying of a disease that will sap me of my mind and our financial resources. I had my first attack today. And I won't allow myself to have another. I didn't want to go out like that, but I won't leave our family destitute, either. The person I asked to help me wasn't a killer. He was a dear friend who knew everything. Son, please know that I am proud of you. I know I was tough on you, but I was preparing you to be man of the house. I leave this earth with no doubt you've taken good care of your mother and brother the past couple of years. That's simply the kind of man you are.

The coach smiles. Josh is stunned. He wipes away a tear. Veronica watches him sympathetically. On the disc, the coach indicates to someone that he's done. A figure can be seen in a reflection behind him, operating the camera.

VERONICA: Josh, there's someone else in the room.

The back of a dark-haired figure wearing a team jacket can be seen in the reflection.

VERONICA: It looks like you.

Josh peers down at the screen.

JOSH: That's, uh, that's Coach Yeager. He was my dad's assistant coach. He played for him at army.

VERONICA: That's who Mason saw.


Veronica enters the office. She walks to Keith's office where he is sitting at his desk at his laptop.

VERONICA: They said on the radio that Sheriff Lamb is still in intensive care.

Keith leans back in his chair and stares at her.

KEITH: My buddy in customs found footage of Josh crossing the border on a fake ID. Please tell me it's just a coincidence.


KEITH: [angry] You want to give me plausible deniability? I suggest you remember to unplug the laminator next time.

Keith thumps his desk.

KEITH: Why, Veronica?

VERONICA: You know Josh didn't do it.

KEITH: Only guilty people flee the country, honey.

VERONICA: Here's something you need to see.

Veronica pulls the computer disc out of her bag. She hands it to Keith who snatches it. The phone rings at her desk. With a final look pleading for understanding, Veronica goes to answer the phone.

VERONICA: Mars Investigations.


Weevil and his boss, both equipped with flashlights, are making their way past leaking pipes.

WEEVIL'S BOSS: The same thing happens every year. "Heat's not working." The furnace smells bad." Wah, wah, wah. Hell, the thing's as old as the damn university.

They get to what looks like a boiler.

WEEVIL'S BOSS: Trustees might as well put it on the historical registry. Look at that. Rusted clear through. Hey, Weevil, why don't you clean the flue, long as we're down here, huh?


Weevil gets a flue brush and opens a door into the flue. He sets his flashlight down in the flue. He leans in and looks above. He starts to use the brush but he catches a bag which falls down into the flue. He pulls it out of the flue and opens the bag, pulling out a shirt. There's blood on it.

WEEVIL: Whoa. Boss. I think you should see this.

Weevil's boss stops his work and shines his flashlight at Weevil's hands. Weevil is holding out a pair of blood-stained gloves.


Keith is watching the end of Coach Barry's video.

COACH BARRY: [offscreen] That's simply the kind of man you are.

VERONICA: It's the County Commissioner's office.

Keith shuts his laptop.

KEITH: So, Josh is planning to stay gone until his family's insurance money is safe?

VERONICA: That's his plan. He said he'd try to get in touch with his mom, tell her what really happened, but that it was more important for her and his little brother to be taken care of. He said it was time for him to be a man.

Keith is in deep thought about this.

VERONICA: Dad, the County Commissioner.

Keith picks up the phone.

KEITH: This is Keith Mars. Sure, Commissioner.

Keith listens.


Keith pauses again.

KEITH: What?

Veronica looks over at Keith and stops what she is doing at her desk to watch him.

KEITH: [offscreen] I'm very sorry to hear that.

Veronica walks to his door.

KEITH: [offscreen] Of course.

Keith is very sombre.

KEITH: First thing in the morning, fine.

Keith nods.

KEITH: Okay. Goodbye.

He hangs up the phone and looks up at Veronica. He stands.

KEITH: He, uh...

Keith struggles a little. He stares down at the phone before looking back at Veronica.

KEITH: He says Sheriff Lamb's dead.

Veronica is shaken.


Veronica and Wallace have trays and are at the till of one of the booths.

WALLACE: I can't believe Josh did it and just disappeared.

Wallace sighs heavily.

WALLACE: How awful for that guy's family.

Veronica seems to consider telling his the truth for a moment, but decides not to. As Wallace pays, she steps forward to find a free table. She stops short on seeing Logan and Parker at one of the tables, chatting happily. Logan is smiling. Veronica stares at them until Wallace comes up behind her and nudges her. She looks back and then follows him.


Sacks opens an interrogation room door and indicates for Mindy to step inside. She does so, fed up. Sacks follows her in.

MINDY: I really don't understand why you had to drag me down here-

She breaks off on seeing Keith, in his sheriff's uniform, at the door.

KEITH: I know. I'm a tough man to shake, Mrs. O'Dell.

Keith walks in and shuts the door behind him.

MINDY: What do you want, Keith?

KEITH: Sheriff Mars.

Mindy sits down on one of the chairs. Keith approaches her with a file in his hand.

KEITH: Two maintenance workers found a bag of bloody clothes on campus.

He hands her the file. She opens it and pulls out photographs of a bloody shirt. On one of the close-ups, the initials HRL can be seen on one of the pockets. Keith points to it.

KEITH: The shirt belongs to your boyfriend, Hank Landry. So, here's the deal. Either you're covering for him, or he's covering for you, and you're gonna tell me which it is right now.

Mindy looks genuinely stunned by what she sees. She thinks for a moment before turning her big baby blues up at Keith. Executive Producer: Rob Thomas.

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